Beruflich Dokumente
Kultur Dokumente
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Chapter 1.1 Saw+Pulse
-Saw and pulse waves= most common.
-Saw wave = bright, edgy and used for a lot of different sounds.
-Pulse wave= more videogame-like, artifical sound.
-Pulse wave= heavy in low pitches.
-When designing heavy bass sounds, use pulse since it has heavy sound in low pit
ches.
Slyenth: To make sub osc use a osc in part 2 of slyenth OR just use an empty osc
in part 1. The syntorial vid on slyenth in this chap is very important since it
talks about
putting filters and other stuff on both AB sections of slyenth, and how
the AB system works internally! It is KEY to how to use slyenth well!
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Chapter 11.1 LFO Destination
-LFO creates repeating movement of a parameter in your synth. Does this by using
shape of a waveform to modulate parameter.
-Examples include: pitch, volume, filter cutoff, pulse width(only works on pulse
wave), panning.
Chapter 11.2 LFO Amount
-Determines max and min amount of modulation applied to selected destination
-Note played is at mid point between max modulation and min modulation. LFO brin
gs parameter from mid pt to highest point, then mid, then low, then mid again, a
nd the cycle continues.
-If amount is reduced, both max and min modulation amount is reduced, so range o
f motion allowed on turning that parameter is reduced.
Chapter 11.3 LFO Waveform
-Triangle: Value quickly goes to top then goes down quickly.
-Saw: Value instantly jumps to top then goes down quickly. Often used on volume.
Gate effect is when you use this on volume, so when you hold a key it soun
ds like you are playing one note over and over again.
Reducing amount in gate effect makes note still held, but attack transient
occurs over and over again.
-Pulse(square): Value instant jump to top, then instant jump to bottom. Often us
ed on volume.
Also makes gate effect more abrupt than saw.
-Sample and Hold: Random values one after another. Often used on cutoff.
Chapter 11.4 LFO Rate
-How fast the invisible hand turns the modulated knob's parameter. Basicly how m
any times you turn from high to low point in an amount of time.
- Vibrato
Destination: Pitch
Waveform: Triangle
Amount: Low
Rate: Med~fast
- Tremolo
Destination: Volume
Waveform: Triangle
Amount: Low
Rate: Med~Fast
- Gate
Destination: Vol/Cutoff
Waveform: Saw/pulse
Amount: Med~high
Rate: Med~fast
- Vibrato
Destination: Pitch
Waveform: Triangle
Amount: Low
Rate: Med~fast
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Chapter 12.1 Filter Resonance
-Boost sound near brightest point
-Cutoff to 1.00: When resonance turned up, more sizzley but everything beneath i
t gets lower in volume.
-Cutoff to 0.81 or lower: No more sizzle, high end boosted forward, rest pulled
back.
-Different setting can change resonace's effect greatly. Overall, it tightens ou
r sound, give it more focus, Add point to sound.
-When Resonance 100, you get ringing sound, and cutoff knob determines pitch of
that sound. This is called self-oscillation.
-Set cutoff knob first, then resonance when programming exercise in syntorial.
Chapter 12.2 Filter Resonance & Envelope
-When add Resonance to Filter Envelope, makes envelope "juicier"
-Has a "Wah effect" like in Wah pedals
-When you have a filter envelope and self-oscillation(Resonance set to 100), you
can hear the pitch shift since the cutoff is modulated by filter envelope.
Chapter 12.3 Filter Resonance & LFO
-Adding Resonance to LFO still just makes envelope "juicier"
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Chapter 13.1 Mono and Poly voice modes
-Mono=Can only play 1 note at same time
-Poly=Can play more than 1 note at same time
-Mono help keep things clean with basses and leads, and can create cool effect w
hen you try to play 2 or more notes simultaneously consecutively.
-There is noise when you play notes consectuively in poly because there is a sli
ght overlap between notes. That is non existant in mono.
Chapter 13.2 Poly Mode & Amp Release
-If amp envelope release is long, mono mode cuts off tail of notes.
-If in poly2mode, you play two chords(each chord with 2 notes) in quick sucessio
n, cut off will occur again. So you need to change poly2 to poly4 to make cut no
n existant.
-Same goes for other situations.
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Chapter 14.1 Unison
-Unison takes idea of doubling and detuning and maginifies it. Same pulsating an
d smearing effect but more extreme. Gets a big sound.
-Increasing Unison voice count gives you a bigger sound.
-Start button: Enable=attack transient added. Disable=No attack Transient.
-more voices added in voice count= more volume boost, so turn volume down if add
ed lots of voices.
Chapter 14.2 Unison Detune
-Same effect on sound as tuning oscillator fine knob when you were detuning.
-Makes sound more aggressive and stick out
Chapter 14.3 Unison Spread
-Takes all Unison sounds and spreads them across the stereo field
-Common setting is to put spread in middle
-When spread is up to 100, sound is wider but no pulsation added. can be great f
or just widening sound.
Chapter 14.4 Unison & Multiple Oscs
-When applied to multiple Oscs, gives you huge sound.
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Chapter 15.1 Reverb
-Makes sound sounds like it is played in a room.
-Mix knob determine balance between dry and wet signal.
-Higher mix knob is turned up, the further away sound is from you
-Imagine you are in a church, and a synth is played far away from you
Chapter 15.2 Reverb Size
-Determine size of room
-Smaller=bedroom, studio
-Bigger=arena,church
-Very Big=Concert hall, Canyon
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Chapter 16.1 Legato voice mode
-Envelope does not start over again when new note is played. If you overlap a nu
mber of notes, the envelope continues moving forward instead of starting over wi
th each new note.
Chapter 16.2 Portmento
-When portmento turned on, you get slide between notes played one after another.
-If turned very low, you do not get an actual sliding of pitch, but get a wheeed
d sound to note, giving sound more attitude.
-Portmento often used with leads
Chapter 16.3 Portmento and Legato
-1: In mono mode, portmento slide happens everytime you play a note. The amount
of time between the 1st and 2nd note does not affect whether there is portmento
slide or not.
Also in mono mode, every time a note begins there is an abrupt UMMF sound at
beginning while legato mode gives a smoother portmento slide.
-2: In legato mode, portmento slide only happens with connected/overlapped notes
. IN legato mode,portmento bend does NOT occur when you play non-connected notes
.
-what 2 is good for is it allows you to control at which part the note bends. Th
is gives you creative freedom so legato is commonly used with portmento mode.
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Chapter 17.1 Triangle waveform
-Triangle wave can be used together with pulse and saw waves to make a whole new
palette of sound.
-Turn mix knob to 70,30 instead of 50/50 when combining triangle wave with anoth
er waveform because triangle wave is quieter, so make it 70 so it is loud enough
.
-This makes overall volume lower,so you need to compensate for volume drop by tu
rning up the main volume a bit.
-Triangle adds weight and body to a sound.
-Triangle adds a pop sound at start of note(like an attack transient). Turn up a
mp envelope by 2ms to get rid of this noise.
-Can also use other types of mix knob settings for triangle wave, another common
setting is 50/50. You do not get pop sound at 50/50 but main volume still goes
down so turn it up.
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Chapter 18.1 Chorus
-Chorus pulsates, smears and widens your sound. Chorus Mix determine balance bet
ween dry and wet chorus signal.
-Turning up Chorus rate increases speed of chorus' pulsation and also makes it m
ore intense.
-My own(Daniel's) advice based on own experience with it: Use mix to set up the
"tone" of your sound, then use rate to set up the speed of pulsation
Chapter 18.2 Types of Pulsation
-We have learned 4 ways of creating pulsation:
1.doubling+detuning
2.Pulse width modulation(PWM)
3.Unison
4.Chorus
-DoubDetun and PWM can be easy to tell apart from Unison and Chorus since...
DoubDetun and PWM: Sound like 1 single waveform right down the middle
Unison and Chorus: Widen sounds, multiple oscillators
-It is hard to tell doubdetun from PWM and Unison from Chorus.
-Here are some tips to help you
-PWM can only be applied to a pulse width, whereas DoubDetun can be applied to a
ny waveform
-Unison sounds more aggressive and big, whereas Chorus sounds softer and more su
btle
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Chapter 19.1 Modulation Envelope
-Same as amp and filter env, but it allows you to modulate any parameter you cho
ose.
-You only have attack and decay stages
Chapter 19.2 Modulation Envelope Amount
-Determines how high destination is modified at end of the attack stage before i
t falls back during the decay stage. Same as filter env amt.
-eg if modulating pitch, if amt high, atk takes C note to G. If amt low, atk onl
y takes C note to D.
-Higher amount also means more noticable transient if you are using a 0 atk, low
decay pluck sound.
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Chapter 20.1 osc sync
-osc sync makes a metallic grinding sound
-Essentially, osc 1(master), which forces osc 2(slave) to change the shape of it
s waveform over and over again creating a grinding sound
-osc1 sound doesn't change, it just changes osc2 sound.
-even with sync turned on, the effect does not happen until you turn semi knob o
n osc2
-osc2's grinding sound gets even more noticable if osc2 is set as a pulse(especi
ally square) wave
-osc2 is commonly a square wave
-Higher semi settings increases the feeling of having 2 notes at same time, crea
ting a sense of seperation. Higher semi knob, heavier the second note will sound
.
-Avoid octave and fifths since they will not give u the sync effect.
-Ignore osc1 waveform since the wave form type of osc1 does not affect the sync
metallic grinding sound of osc2
Chapter 20.2 osc sync and mod env
-first set up sync
-then route mod env to osc2's pitch(basicly like having an invisible hand turn t
he semi knob)
-set osc 2's semi knob to 9 since the effect does not happen when at zero. 9 all
ows env to start at 9, goes up from 9, then go back to 9 at end.
Chapter 20.3 osc sync and LFO
-Instead of using mod env, u can use LFO to automate osc2 pitch.
-first set up sync
-set osc 2's semi knob to 19, right in the middle.
-then route LFO to osc2's pitch
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Chapter 21.1 High pass filter
-Previously you learned the low pass filter
-With high pass filter, you turn cutoff knob up to make sound thinner and lighte
r, gives a bright sizzling old radio station like sound.
-With really high pitched notes in osc, you need to turn high pass cutoff knob h
igher than for lower sounds for the high pass effect to be noticable.
Chapter 22.2 Band pass filter
-cut off both high and lows, leaving only parts near and around your cutoff knob
Chapter 23.3 Fitler type and resonance
-Res works same way for each filter type, bounces up sound near cutoff.
-Difference is in how this relates to each filter sound
-For Low pass, resonance boost brightest point
-For High pass,resonance boost lowest part of sound
-For Band pass,resonance boost in the dead center/middle part of sound
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Chapter 24.1 FM/Frequency Modulation
-FM adds a metallic quality to sound.
-Osc2(modulator) mutates sound of osc1(carrier)
-First set both osc1 and 2 to sine
-sine is pure, round no edge tone. New wave we haven't learned before.
-set mix to 0(so no sound comes out from 2 since osc1 is carrier, osc2 is modula
tor)
-Then turn up FM knob. More you turn up FM knob, the more you get a metallic rou
nded edge sound instead of sine. More metallic than osc sync but not as edgy.
-You get a bit of click(not as noticable as with triangel wave) at start too, ju
st put amp attack up to 2 so it is not noticable